Jet Age sets new course

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Silver Spring's Eric Tischler, who led the Hurricane Lamps to a glowing reputation as a solid, pop-driven rock band in the decade's first years -- only to see the group's lights go out in 2004 -- returns as the singer/guitarist/synth-playing frontman of the locally based Jet Age, playing Tuesday at the Black Cat.

The trio spent the winter recording 10 songs, and at the hometown concert will give away a free, four-song teaser of new material from its upcoming debut album, whose first song serves as a "declaration of intent" that Jet Age will explore new musical frontiers rather than mirror the Hurricane Lamps' style. "Sometimes You Win, Sometimes You Lose" erupts with three rambunctious, mold-smashing guitar solos.

"We're letting loose in a way the Lamps typically didn't," Mr. Tischler says.

Mr. Tischler, who grew up in the District and Bethesda, lives in Silver Spring. Bethesda native Greg Bennett (bass), also a member of the Lamps, resides in Vienna, and new drummer-percussionist Pete Nuwayser lives in Alexandria.

The upcoming album, tentatively called "Breathless," showcases the band's adoration for tight and sharp rockers ("Ride On") and sly bass grooves ("Dry"). "I Gave Up on Justice and Reason" is a Who-like stomper, and "Slope" concludes with an explosion of fiery guitar and wicked blasts from Mr. Nuwayser's snare drum.

Mr. Tischler calls the eight-minute "Big Deaths, Little Deaths" one of his favorites because it reinforces his bandmates' commitment to their craft and comfort level as a trio.

"I'm excited to do it [on stage] because when we get up there, we feed off each other and we trust each other," he says.

Mr. Tischler recorded the Hurricane Lamps and Jet Age songs in his home studio, which over the years has expanded from an eight-track to a 24-track system. The new material didn't require much tinkering.

"The band is so strong," he says, "that I find myself keeping production to a minimum."

Mr. Tischler wants to build a large following for the Jet Age. But he won't participate in what he calls "the loudness wars," an attempt by producers to emphasize volume instead of the full dynamic range of vocals and instrumentation.